Black-and-white photograph of two young people dancing on a rooftop with a city panorama in the background.

Art Museum ARSENĀLS

The Photography Collection (second half of the 20th century – 21st century)

The development of the Photography Collection of the Latvian National Museum of Art began in 2011 with a major donation of photographs by Egons Spuris (1931-1990), gifted to the museum by his widow, photographer Inta Ruka.

Black-and-white photograph of two young people dancing on a rooftop with a city skyline in the background.

Māra Brašmane. Twist again! Tamāra Dobrova un Eižens Valpēters. 1965. Tintes printera druka. LNMM kolekcija

Black-and-white photograph of industrial building facades, a tall chimney, and a walking human silhouette on the left.

Egons Spuris. No cikla “Rīgas 19. gadsimta un 20. gadsimta sākuma proletāriešu rajonos”. 1976. Sudraba želatīna kopija. LNMM kolekcija

Black-and-white photograph of a narrow city courtyard between tall buildings, divided by sharp areas of light and shadow.

Egons Spuris. No cikla “Rīgas 19. gadsimta un 20. gadsimta sākuma proletāriešu rajonos”. 1970-1980. Sudraba želatīna kopija. LNMM kolekcija

Black-and-white photograph of an apartment building facade with multiple windows, seen from a street with cobblestones in the foreground.

Egons Spuris. No cikla “Rīgas 19. gadsimta un 20. gadsimta sākuma proletāriešu rajonos”. 1976. Sudraba želatīna kopija. LNMM kolekcija

Black-and-white photograph of people on a beach, with a child drawing at an easel and an adult woman nearby, and a tiger figure standing in the sand.

Andrejs Grants. No kolekcijas “Pa Latviju”. Jūrmala, Bulduri. 1987. Sudraba želatīna kopija. LNMM kolekcija

In a black-and-white street photograph, two people move a large star-shaped object on wheels along a city street beside a historic building.

Gvido Kajons. Zvaigzne uz riteņiem. No cikla “Tēma 011”. 1980-1990. Tintes printera druka. LNMM kolekcija

Black-and-white photograph of two uniformed men standing by a railing and looking down at a large street procession beside a river.

Gvido Kajons. Divi miliči uz tilta. No cikla “Tēma 011”. 1980-1990. Tintes printera druka. LNMM kolekcija

Black-and-white photograph of a narrow courtyard between multi-story brick buildings, with a parked car and a running child.

Egons Spuris. No cikla “Rīgas 19. gadsimta un 20. gadsimta sākuma proletāriešu rajonos”. 1970-1980. Sudraba želatīna kopija. LNMM kolekcija

Black-and-white photograph of an elderly woman in a headscarf seated by a weathered wooden building, looking at the camera.

Inta Ruka. Matrjona Vasiljeva. No sērijas “Mani lauku ļaudis”. 1986. Sudraba želatīna kopija. LNMM kolekcija

Black-and-white photograph showing a woman lying in grass and holding a curved rod or rope in an open field.

Andrejs Grants. Kandava. No kolekcijas “Iespaidi”. 1992. Sudraba želatīna kopija. LNMM kolekcija

Portrait of a bearded man with long hair holding a white dove against a blurred outdoor background.

Atis Ieviņš. Andris Grīnbergs ‒ performance ar balodi. 1973. Alumīnijs, digitāldruka. LNMM kolekcija

Black-and-white photograph of a seated woman in a park among goats, with one white goat in the foreground.

Uldis Briedis. Alūksne. Garām pagāja svešais. 1983. gada oktobris. 1983. Tintes printera druka. LNMM kolekcija

Black-and-white photograph of an abandoned stone-and-wood building with a collapsed roof and tall chimney, with a wooden gate and stone wall in the foreground.

Uldis Briedis. Talsu rajons. Laucienes pagasta “Luntes” māju manteļskurstenis. 1984. Tintes printera druka. LNMM kolekcija

Black-and-white close-up portrait of an elderly man with an uplifted gaze and open mouth against a dark background.

Gunārs Binde. Eduards Smiļģis. 1965. Bromsudraba kopija. LNMM kolekcija

Black-and-white nude portrait of a woman with braided hair, hands pressed together at her chest, wearing a cross necklace against a plain background.

Gunārs Binde. Meitene ar krustiņu [sērijas pirmā fotogrāfija]. 1963. Bromsudraba kopija. LNMM kolekcija

Black-and-white portrait photograph of a woman holding a photograph of a nude torso with hands at the chest, creating a layered composition.

Gunārs Binde. Sarmīte Sīle [sērijas sestā, pēdējā fotogrāfija]. 2013. Bromsudraba kopija. LNMM kolekcija

Black-and-white photograph of a woman in a swimsuit standing by a tub in a yard between houses, with clotheslines and a child in a tub.

Zenta Dzividzinska. No sērijas “Māja upes krastā”. 1968. Sudraba želatīna kopija. LNMM kolekcija

Black-and-white photograph of a man in an apron standing in a doorway between wooden crates of cabbages.

Zenta Dzividzinska. No sērijas “Māja upes krastā”. 1971. Sudraba želatīna kopija. LNMM kolekcija

Black-and-white abstract photograph of an upside-down dancer in dark clothing on a light, textured background.

Zenta Dzividzinska. No sērijas “Rīgas pantomīma”. 1964-1966. Sudraba želatīna kopija, eksperimentāla autortehnika. LNMM kolekcija

Black-and-white, dreamlike photograph of several male figures in top hats and formal coats, with blurred faces and bodies partially merging into shadows.

Zenta Dzividzinska. No sērijas “Rīgas pantomīma”. 1964-1966. Sudraba želatīna kopija, eksperimentāla autortehnika. LNMM kolekcija

Black-and-white cityscape with an apartment building bearing a large mural of a flower and globe with text, and several tall metal poles in the foreground.

Gvido Kajons. Mūsu miera programma. No cikla “Tēma 011”. 1980-1990. Tintes printera druka. LNMM kolekcija

The collection of 157 photographs by Spuris features the contemplative realism of the 1960s and 1970s in the series Pechory Monastery, as well as scenes of Latvian fishermen and the sea, landscapes, portraits and genre compositions. His photo series Riga. Proletarian Districts. Late 19th, Early 20th Centuries (1970-1980) is included in the Latvian Cultural Canon and is characterized by an interest in abstraction, silhouetted rhythms and a graphic visual language.

The oldest photographic work in the collection is the series Girl with a Cross (1963-2013) comprising six works by the classic master of Latvian photography Gunārs Binde (1933). By capturing nudes of art historian Sarmīte Sīle (1945-2018) every ten years, it records the physical and psychological transformations of a woman’s body. His canonical portrait of the legendary theatre director Eduards Smiļģis (1886-1966) was awarded the gold medal at the 29^th International Salon of Photographic Art (XXIX Salón Internacional de Arte Fotográfico) in Buenos Aires in 1965. Binde’s photography is characterized by a search for the dramatic hero, utilizing expressive gestures, glances and movements alongside heightened chiaroscuro contrasts. Binde developed an original staged photography method, synthesizing stage direction, acting performance, cinematic aesthetic principles and documentary practice.

In contrast to the male gaze in photography, the female photographers represented in the museum’s collection depicted their female contemporaries in everyday situations. These aesthetic traditions of the 1960s continue in the photographs of Sarmīte Kviesīte (1946), rendered with tonal contrasts in pursuit of expressive compositional planes. The 1960s works of Zenta Dzividzinska (1944-2011) demonstrate a distinct engagement with avant-garde phenomena. Her aesthetically refined series Riga Mime (1964-1966) captures rehearsal moments of the troupe, employing unconventional framing, double exposure and photochemical experimentation in search of formal expressiveness. In her series House by the River (1965-1975) candid snapshots capture private everyday family moments. The camera lens of Māra Brašmane (1944) frequently focuses on young, active female intellectuals within the urban environment of Riga, including its famous cafes Putnu dārzs, Kaza and Kārlis. An intensely experimental character defines the 1970s-1980s works of Atis Ieviņš (1946), who utilized colour etching, solarization, screen printing and photolithography techniques in his portraits of alternative culture figures.

Black-and-white portrait of an elderly woman standing by a wooden wall and holding a wedding photograph.

Inta Ruka. Daina Tavare. Balvi, Latvija. No kolekcijas “Mani lauku ļaudis”. 2011. Sudraba želatīna kopija. LNMM kolekcija

Black-and-white wedding photograph of a bride in a white lace dress and veil and a groom in a light shirt, standing outdoors beside a wooden building with foliage in the background.

Inta Ruka. Aija un Andris Kerāni. Balvi, Latvija. No kolekcijas “Mani lauku ļaudis”. 1992. Sudraba želatīna kopija. LNMM kolekcija

Black-and-white photograph of a woman looking into a mirror, showing her face and hands with dark nail polish.

Andrejs Grants. No sērijas “Kolēģi, draugi, paziņas”. Andris Grīnbergs. Mazirbe. 1996. Sudraba želatīna kopija. LNMM kolekcija

Black-and-white portrait photograph of a boy in a plaid shirt against a plain background, with handwritten Russian text below the image.

Valts Kleins. No sērijas – projekta “Gribu būt laimīgs”. Pila. 1992. Sudraba želatīna kopija. LNMM kolekcija

Black-and-white portrait photograph of a serious young boy in a спортивa jacket against a white background, with handwritten text below.

Valts Kleins. No sērijas – projekta “Gribu būt laimīgs”. Guntis. 1992. Sudraba želatīna kopija. LNMM kolekcija

Color photograph of a naked person in close-up, covering their mouth with a hand and looking at the camera against a dark background.

Arnis Balčus. No sērijas “Es, draugi, mīļākie un citi”. Pašportrets ar Andu, Rīga / Self-portrait with Anda, Riga. 2002. Lāzerprintera druka. LNMM kolekcija

Woman with one arm raised holding an electrical cord in a room with red curtains, a window and household objects in the background.

Arnis Balčus. No sērijas “Es, draugi, mīļākie un citi”. Mamma ar gludekli, Rīga / Mom with iron, Riga. 1998. Lāzerprintera druka. LNMM kolekcija

Color close-up photograph of a young woman’s face with short dark hair and blue eyes against a dark background.

Arnis Balčus. No sērijas “Es, draugi, mīļākie un citi”. Anda raud, Rīga / Anda crying, Riga. 2004. Lāzerprintera druka. LNMM kolekcija

Black-and-white photograph of a child wearing glasses, a knitted hat, and a checkered scarf, seated indoors in front of a patterned curtain.

Ivars Grāvlejs. No sērijas “Akcijas un performances”. Veca stulba vecmāmiņa. 1989. Tintes printera druka. LNMM kolekcija

Black-and-white photograph of a person in winter clothing clinging to a pole beside a street taxi sign marked TAKSI with a car symbol, in a snowy setting.

Ivars Grāvlejs. No sērijas “Akcijas un performances”. Vienas minūtes skulptūra. 1989. Tintes printera druka. LNMM kolekcija

Black-and-white photograph of a man in a suit sitting at a table, looking at the camera and making an obscene gesture with his middle finger.

Ivars Grāvlejs. No sērijas “Akcijas un performances”. Fuck. 1995. Tintes printera druka. LNMM kolekcija

Three people on broken ice near the sea, one man assisting another in a bent pose while a third lies down and drinks from a bottle.

Andrejs Strokins. No sērijas “Cilvēki kāpās”. Piedzērušies cilvēki iesalušajā Rīgas jūras līcī. 2013. Tintes printera druka. LNMM kolekcija

A yellow car covered in snow is raised on supports beside a snow-covered fence and bare trees in a winter landscape.

Andrejs Strokins. No sērijas “Cilvēki kāpās”. Voleri. 2013. Tintes printera druka. LNMM kolekcija

Young people and children climb on a homemade wooden structure in the lake under a cloudy sky.

Andrejs Strokins. No sērijas “Cilvēki kāpās”. Cilvēki peldas Bolderājas karjerā. 2014. Tintes printera druka. LNMM kolekcija

Black-and-white photograph of a child with a hand covering the mouth and one eye visible, framed by a black border.

Aivars Liepiņš. No sērijas “Bērnu pansionāts Nr.2. Baldone”. 1991. Sudraba želatīna kopija. LNMM kolekcija

In a black-and-white photograph, a woman stands by a graffiti-covered wall holding a cigarette.

Māra Brašmane. Ivonna Kreica-Andersone. 1969. gada maijs. 1969. Tintes printera druka. LNMM kolekcija

Black-and-white photograph of two long-haired young men sitting on cobblestones in front of a wall covered with graffiti.

Māra Brašmane. Torņa iela. Hipijpuiši Vecrīgā. 1968. 1968. Tintes printera druka. LNMM kolekcija

Black-and-white photograph of a reclining male statue suspended by crane cables in a city square, surrounded by a large crowd of onlookers.

Aivars Liepiņš. 1991. gada 25. augusts, Rīga. Ļeņina pieminekļa aizvākšana. 1991. Sudraba želatīna kopija. LNMM kolekcija

A person in a fantasy costume with a mask and spear stands by a small river in a sandy landscape, reflected in the water.

Reinis Hofmanis .“LARP”. 2014. Tintes printera druka. LNMM kolekcija

An armed figure in fantasy armor stands on a rocky shoreline by the water, with an industrial landscape in the misty background.

Reinis Hofmanis. “LARP”. 2011. Tintes printera druka. LNMM kolekcija

A figurative costume or sculptural figure in dark armor stands in a wooded, leaf-covered field with bare trees and horses visible in the distance.

Reinis Hofmanis. “LARP”. 2011. Tintes printera druka. LNMM kolekcija

The focus of photography collection’s acquisitions shifted in the 1990s, when the 1980s “New Wave”, drawn to documentary practice, began to be selected in place of the soviet artistic heritage. Andrejs Grants (1955), Inta Ruka (1958) and Gvido Kajons (1955), who were pupils and theoretical heirs of Egons Spuris, turned to documenting everyday life. The collection features Andrejs Grants’ series Around Latvia, Colleagues, Friends, Acquaintances and Impressions, which reveal the suggestiveness of the moment and reflection of the relationship between the temporal and the timeless. Inta Ruka’s socio-anthropological series My Country People and 5a Amālijas Street possess a profound humanism. Street photography is represented by Gvido Kajons’ series Theme 011, in which soviet-era symbols, ideological inscriptions, parades and daily life are captured in satirical moments. This refined sense of humour and grasp of the absurd continues into the author’s 21^st century photographs.

Social photojournalism reports from the 1960s and 1970s have become valuable documentation of the era, history and social events in the works of Uldis Briedis (1940-2023), leading from socialist scenes to the events of the Baltic Way, the restoration of Latvian independence and the Barricades. In his series Children’s Home No. 2. Baldone (1991), Aivars Liepiņš (1953) addressed a socially uncomfortable topic – children with various developmental disorders. In the anthropological research series Teiči Bog. Siksala (1987-1995), Liepiņš delved into the life of Old Believers community. Valts Kleins (1960-2025), in his series of 100 children’s portraits / Want to Be Happy (1992), brought attention to children separated in correctional institutions due to behavioural difficulties. A deep human study project is unfolded in the gallery of portraits of Nagļi village residents in Māris Maskalāns’ (1971) series Nagļi. LV-4631 (2008-2012).

Investigation of place, manifesting the authors’ interest in typologizing different social groups, their behavioural patterns and environment appear in Ieva Epnere’s (1977) series Riga Circus (2004-2008) and Andrejs Strokins’ (1984) series People in the Dunes (2011-2016). The theme of Latvia’s dying countryside and lonely women is depicted through staged photography by Vika Eksta (1987) in the series God. Nature. Work (2013-2015). A socio-anthropological aspect informs Reinis Holfmanis’ series LARP (Live Action Role Playing) (2011-2017).

Photography of the 21^st century reveals a deliberate rejection of “grand narratives” and the ideals set by previous generations, alongside visible changes in aesthetics influenced by technology. This stands our in Arnis Balčus’ (1978) series Myself, Friends, Lovers and Others (1998-2004). This path is also taken by Ivars Grāvlejs (1979) in collections from the series The Nineties (1987-1997): Actions and Performances and Scream and Flash. These utilize readymades, photographs taken by Grāvlejs during his school years. The dismantling of boundaries between “high” and “low” art is also found in the works of Romāns Korovins (1973-2026).

Currently, the collection holds nearly 1,000 works and owing to the serial nature of photographic works, it is the fastest growing collection in the museum. Thematic displays are organized from the collection, which are changed regularly due to display time restrictions.

The Photography Collection (second half of the 20th century – 21st century)

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